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The passage will then stand marked-with pause, inflection (of antithesis,) and emphasis of force.

If thou dost slander her, and torture me

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We shall presently see that the power of this passage may be still further augmented-under the force of

CUMULATIVE EMPHASIS.

The emphasis of sense goes to meaning only; the emphasis of force is expressive of intensity and energy. That expression is augmented by doubling the emphasis, and is brought to its climax of power, by applying it to several words in succession; which is called accumulated or Cumulative Emphasis.

This emphasis, when judiciously used, adds great power to passages of strength: but it must not be frequently employed, or it will lose its effect by the repetition, and give a disagreeable jerking to the delivery. It is introduced properly, to add increased force to climar, either of powerful argument, or of highlywrought passion. In both these cases it crowns the excitement and energy of the speaker; it is the "topmost round" of the ladder, beyond which he cannot step. It should therefore be reserved for great occasions. Thus,—

EXAMPLES.

1. In an important reply, in which the orator feels that he has triumphantly refuted the arguments of his opponent, he may, with effect, close the climax of his triumph with the cumulative emphasis of force:

I have thus shown, from the gentleman's own arguments, that the doctrine advanced by him is not at present received: -that it never was received: that it never can by any possibility be received: and that, if admitted, it must be by the total subversion of liberty itself!

2. Again, on the climax of intense passion, as in the former example of Othello's speech, read with cumulative emphasis, the articulation of the passage becomes almost syllabic, and it acquires tremendous power.

If thou dost slander her and torture me

Never pray more: abandon all remorse

On horror's head horrors accumulate;

Do deeds to make heav'n weep, all earth amazed

For nothing canst thou to damnation add

Greater than this!

Such is the power of Cumulative Emphasis.

EXPRESSION of feeling and passion is achieved,

not by inflection or emphasis, but by pitch of voice;

which will be treated of in the next division.

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END OF PART III. OF SECOND DIVISION.

THIRD DIVISION.

THE principles developed in the preceding Division have taught us to read and speak with meaning, force, and ease, But Elocution has a higher aim. She follows the human voice in its natural and unrestrained expression of intense feeling,—she accompanies it "in the very torrent, tempest, and whirlwind of its passion;" she knows it in its joy and in its sorrow; she catches, and treasures up its intonations of love and hate, persuasion and command, scorn, pity, tenderness and rage; and by the power of her "so potent art," she holds them like familiar spirits, to be let loose at will.

Under her teaching, he who will, may learn their mastery; subdue them to his power; and call them to his aid, when he would cast a spell over the minds and hearts of his fellow-men.

This is the highest triumph of Elocution;-the truthful utterance of intense and passionate feeling. This is to be attained by the power of

INTONATION, EXPRESSION, ENERGY;

the Crowning Graces of Elocution.

INTONATION.

Intonation is the art of imparting true and perfect tone to the organ of the voice: its practice forms the Education of the Voice, and gives it fulness and volume.

The human voice (as I have before observed) must be regarded as a musical instrument—an Organ. To produce its tones, its bellows-the lungs-must be kept duly inflated, or supplied with breath; the pipe-the throat-must have full play,-the orifice of the mouth must be well opened, and the sound must be poured through it in a copious, swelling stream; interrupted, momentarily, by pause or rests, -on which it gathers fresh impetus for its onward

course.

Many a voice is called weak, not because it is really deficient in natural power, but because its possessor is ignorant of, or unpractised in, the mechanical means of eliciting, improving, and displaying its strength. For the means are mechanical, and consist of the following

PROCESS OF INTONATION.

1. INFLATION OF THE LUNGS, (to begin,) and regularly sup→ plying what they expend in respiration-by an imperceptible inspiration, or catch of the breath, at each pause:-(and here the rhetorical pause is of great service.)

2. OPENING THE MOUTH well-not speaking through the teeth-or, as it is called, "eating your words," (which nine speakers out of ten do.)

3. Pouring ouT THE VOICE regularly, with an even and continuous flow and swell; not in irregular jerks and starts.

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This process is perfectly simple, and merely requires exercise to make it easy. It is, in fact, the same art as that which every one has observed in public singers; who, however, display the mechanical means too manifestly, (and in some instances painfully,) by distortion of visage and heaving of chest. This exhibition of the physical effort must be avoided by the Elocutionist: Ars est celare artem. The machinery must be worked, but the springs and wheels must be kept out of sight.

SWELL OF VOICE.

The swell of voice is called in music crescendo, or increasing, and is denoted by this mark, <; and the diminishing of the sound is called diminuendo, thus denoted, .

The whole swell and decrease is therefore thus denoted

I shall adopt the same respective marks ;-to denote the increasing of the volume of voice-and its diminution.

INSPIRATION.

Observe that the pauses afford the opportunity for regular inspiration, to supply expended breath; a resort absolutely necessary in order to powerful enunciation and perfect intonation; for there can be no command of voice without a perfect command of breath.

I have previously laid it down, that in the delivery of serial sentences-where the sense goes on increasing by amplification-the volume of voice or sound should also increase (crescendo) up to the climax; but remember, that shouting is not Intonation.*

*There is a marked distinction between noise and musical sound. Noise is a confused mixture of sounds produced by the

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